Question: Who was god of colonization?

As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology).

Answer: Apollo

<hl> As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. <hl> According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology).

As god of colonization, <hl> Apollo <hl> gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology).


Question: When was the height of colonization?

Answer: 750–550 BCE

<hl> As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE . <hl> According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology).

As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, <hl> 750–550 BCE <hl>. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology).

As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, <hl> 750–550 BCE <hl> .


Question: What does Lykegenes mean?

Answer: born in Lycia

As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. <hl> In this interpretation, Apollo's title of Lykegenes can simply be read as " born in Lycia ", which effectively severs the god's supposed link with wolves (possibly a folk etymology). <hl>

As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "<hl> born in Lycia <hl>", which effectively severs the god's supposed link with wolves (possibly a folk etymology).

In this interpretation, Apollo's title of Lykegenes can simply be read as " <hl> born in Lycia <hl> ", which effectively severs the god's supposed link with wolves (possibly a folk etymology).


Question: Who was the god of wine?

In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.

Answer: Dionysus

<hl> In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus , god of wine, who represents ecstasy and disorder. <hl> The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.

In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of <hl> Dionysus <hl>, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.

In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of <hl> Dionysus <hl> , god of wine, who represents ecstasy and disorder.


Question: In literary contexts, who represents harmony, order and reason?

Answer: Apollo

<hl> In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. <hl> The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.

In literary contexts, <hl> Apollo <hl> represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.


Question: Where did Apollo go in winter?

Answer: Hyperborea

In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. <hl> However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea , he would leave the Delphic oracle to Dionysus. <hl> This contrast appears to be shown on the two sides of the Borghese Vase.

In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for <hl> Hyperborea <hl>, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.

However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for <hl> Hyperborea <hl> , he would leave the Delphic oracle to Dionysus.


Question: Whose masterpieces are a mixture of naturallism with stylization?

The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. Finally Praxiteles seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization.

Answer: Praxiteles

The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. <hl> Finally Praxiteles seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization. <hl>

The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. Finally <hl> Praxiteles <hl> seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization.


Question: In whose depictions can the evolution of Greek sculpture be observed?

Answer: Praxiteles

The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. <hl> Finally Praxiteles seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization. <hl>

The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. Finally <hl> Praxiteles <hl> seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization.


Question: Who seems to be released from any art and religious conformities?

Answer: Praxiteles

The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. <hl> Finally Praxiteles seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization. <hl>

The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. Finally <hl> Praxiteles <hl> seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization.


Question: Who asserted that a divine reason gave order to the seeds of the universe?

In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words oida (οἶδα, "(I) know") and eidos (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.

Answer: Anaxagoras

<hl> In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). <hl> The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words oida (οἶδα, "(I) know") and eidos (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.

In classical Greece, <hl> Anaxagoras <hl> asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words oida (οἶδα, "(I) know") and eidos (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.


Question: Who extended the Greek beilef of idea forms to his metaphysical theory of forms?

Answer: Plato

<hl> In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). <hl> The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words oida (οἶδα, "(I) know") and eidos (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.

In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and <hl> Plato <hl> extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words oida (οἶδα, "(I) know") and eidos (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.


Question: What is one Greek word that has the same root as the word idea?

Answer: eidos

In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). The forms on earth are imperfect duplicates of the intellectual celestial ideas. <hl> The Greek words oida (οἶδα, "(I) know") and eidos (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. <hl> The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.

In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words oida (οἶδα, "(I) know") and <hl> eidos <hl> (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.


Question: What is the modern term given to those representations of stnding male youths that first appear in the archaic period in Greece?

Kouros (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").

Answer: Kouros

<hl> Kouros (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. <hl> This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").

<hl> Kouros <hl> (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").


Question: What is another word for male youth?

Answer: Kouros

<hl> Kouros (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. <hl> This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").

<hl> Kouros <hl> (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").


Question: Who was the immortal god of ideal balance?

Answer: Apollo

Kouros (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. <hl> This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo . <hl> The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").

Kouros (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. This type served certain religious needs and was first proposed for what was previously thought to be depictions of <hl> Apollo <hl>. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").

This type served certain religious needs and was first proposed for what was previously thought to be depictions of <hl> Apollo <hl> .


Question: The period between 640-580 BC was known as what?

In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named Daedalus, and in his statues the limbs were freed from the body, giving the impression that the statues could move. It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.

Answer: early archaic period

<hl> In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. <hl> The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named Daedalus, and in his statues the limbs were freed from the body, giving the impression that the statues could move. It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.

In the first large-scale depictions during the <hl> early archaic period <hl> (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named Daedalus, and in his statues the limbs were freed from the body, giving the impression that the statues could move. It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.


Question: What was the name of the Dipylon master?

Answer: Daedalus

In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. <hl> According to the Greek tradition the Dipylon master was named Daedalus , and in his statues the limbs were freed from the body, giving the impression that the statues could move. <hl> It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.

In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named <hl> Daedalus <hl>, and in his statues the limbs were freed from the body, giving the impression that the statues could move. It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.

According to the Greek tradition the Dipylon master was named <hl> Daedalus <hl> , and in his statues the limbs were freed from the body, giving the impression that the statues could move.


Question: Who created the New York kouros?

Answer: Daedalus

In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. <hl> According to the Greek tradition the Dipylon master was named Daedalus , and in his statues the limbs were freed from the body, giving the impression that the statues could move. <hl> It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.

In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named <hl> Daedalus <hl>, and in his statues the limbs were freed from the body, giving the impression that the statues could move. It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.

According to the Greek tradition the Dipylon master was named <hl> Daedalus <hl> , and in his statues the limbs were freed from the body, giving the impression that the statues could move.


Question: Who is said to be the builder of the labyrinth?

The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment. These free-standing statues were usually marble, but also the form rendered in limestone, bronze, ivory and terracotta.

Answer: Daedalus

<hl> The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. <hl> This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment. These free-standing statues were usually marble, but also the form rendered in limestone, bronze, ivory and terracotta.

The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic <hl> Daedalus <hl> (the builder of the labyrinth) that made images which moved of their own accord. This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment. These free-standing statues were usually marble, but also the form rendered in limestone, bronze, ivory and terracotta.


Question: During what period was art's main theme the representation of motion in a specific movement?

Answer: Minoan period

The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. <hl> This kind of art goes back to the Minoan period , when its main theme was the representation of motion in a specific moment. <hl> These free-standing statues were usually marble, but also the form rendered in limestone, bronze, ivory and terracotta.

The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. This kind of art goes back to the <hl> Minoan period <hl>, when its main theme was the representation of motion in a specific moment. These free-standing statues were usually marble, but also the form rendered in limestone, bronze, ivory and terracotta.

This kind of art goes back to the <hl> Minoan period <hl> , when its main theme was the representation of motion in a specific moment.


Question: These free-standing statues were sometimes rendered from immestone, bronze, ivory and terracotta but were usually made from what material?

Answer: marble

The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment. <hl> These free-standing statues were usually marble , but also the form rendered in limestone, bronze, ivory and terracotta. <hl>

The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment. These free-standing statues were usually <hl> marble <hl>, but also the form rendered in limestone, bronze, ivory and terracotta.

These free-standing statues were usually <hl> marble <hl> , but also the form rendered in limestone, bronze, ivory and terracotta.


Question: What period ran from 520-485 BC?

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.

Answer: late archaic period

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. <hl> The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. <hl> Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the <hl> late archaic period <hl> (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.


Question: What was the harbour of Athens?

Answer: Piraeus

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. <hl> Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. <hl> It was found in Piraeus, the harbour of Athens. The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze <hl> Piraeus <hl> Apollo. It was found in Piraeus, the harbour of Athens. The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.


Question: What did Piraeus Apollo hold in his left hand?

Answer: the bow

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. <hl> The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. <hl> It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. The statue originally held <hl> the bow <hl> in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.


Question: What did Piraeus Apollo hold in his right hand?

Answer: a cup of pouring libation

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. <hl> The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. <hl> It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.

The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. The statue originally held the bow in its left hand, and <hl> a cup of pouring libation <hl> in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.


Question: Who wrote that beauty consists in the proportion not of the elements?

In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.

Answer: Polykleitos

In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. <hl> Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. <hl> It seems that he was influenced by the theories of Pythagoras. The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.

In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. <hl> Polykleitos <hl> in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.


Question: In what type of art does the god hold the cithara in his left arm?

Answer: Apollo Citharoedus statue type

In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. <hl> The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type , in which the god holds the cithara in his left arm. <hl> The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.

In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. The famous Apollo of Mantua and its variants are early forms of the <hl> Apollo Citharoedus statue type <hl>, in which the god holds the cithara in his left arm. The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.

The famous Apollo of Mantua and its variants are early forms of the <hl> Apollo Citharoedus statue type <hl> , in which the god holds the cithara in his left arm.


Question: What type of art is modeled after a supposed Greek bronze original made in the second quarter of the 5th Century BCE.

Answer: neo-Attic Imperial Roman copies of the late 1st or early 2nd century

In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. <hl> The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century , modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. <hl> The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.

In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. The type is represented by <hl> neo-Attic Imperial Roman copies of the late 1st or early 2nd century <hl>, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.

The type is represented by <hl> neo-Attic Imperial Roman copies of the late 1st or early 2nd century <hl> , modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic.


Question: The statues of who were thought to incarnate his living presence?

Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.

Answer: Apollo

Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. <hl> The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. <hl> Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.

Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. The statues of <hl> Apollo <hl> were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.


Question: Representations of illusive imaginative reality had deep roots in what period?

Answer: Minoan

Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. <hl> The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. <hl> Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.

Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the <hl> Minoan <hl> period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.


Question: What people saw the mountains, forests, sea and rivers as inhabited by concrete beings?

Answer: Greeks

Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. <hl> Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. <hl> Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.

Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. Just as the <hl> Greeks <hl> saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.


Question: Who seemed to have been dominated by geometrical pattern and order?

These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.

Answer: The artists

These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. <hl> The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy. <hl>

These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. <hl> The artists <hl> seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.


Question: What rely on presenting scenes directly to the eye for their own visibe sake?

Answer: These representations

<hl> These representations rely on presenting scenes directly to the eye for their own visible sake. <hl> They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.

<hl> These representations <hl> rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.


Question: While each scene has its own character and completeness, it must fit into what?

Answer: the general sequence to which it belongs

These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. <hl> While each scene has its own character and completeness it must fit into the general sequence to which it belongs . <hl> In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.

These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into <hl> the general sequence to which it belongs <hl>. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.

While each scene has its own character and completeness it must fit into <hl> the general sequence to which it belongs <hl> .


Question: Who is often depicted with a kithara or bow in his hand?

Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE.

Answer: Apollo

<hl> Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). <hl> The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE.

<hl> Apollo <hl> as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE.


Question: What is the name of a marble sculpture that was rediscovered in the late 15th century?

Answer: The Apollo Belvedere

Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). <hl> The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. <hl> The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE.

Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). <hl> The Apollo Belvedere <hl> is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE.


Question: Who made the Apollo Belvedere?

Answer: Leochares

Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. <hl> The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares , made between 350 and 325 BCE. <hl>

Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor <hl> Leochares <hl>, made between 350 and 325 BCE.

The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor <hl> Leochares <hl> , made between 350 and 325 BCE.


Question: When did Leochares make The Apollo Belvedere?

Answer: between 350 and 325 BCE

Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. <hl> The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE . <hl>

Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made <hl> between 350 and 325 BCE <hl>.

The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made <hl> between 350 and 325 BCE <hl> .


Question: How many States renounced their preferred political party?

Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's 252.

Answer: three

Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. <hl> The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. <hl> In the Electoral College, Bush received 286 votes to Kerry's 252.

Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only <hl> three <hl> states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's 252.


Question: Which state switched sides and embraced the Democratic party after previously choosing the Republican party?

Answer: New Hampshire

Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. <hl> The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. <hl> In the Electoral College, Bush received 286 votes to Kerry's 252.

Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while <hl> New Hampshire <hl> voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's 252.


Question: How many votes did Kerry receive, in the Electoral College?

Answer: 252

Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. <hl> In the Electoral College, Bush received 286 votes to Kerry's 252 . <hl>

Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's <hl> 252 <hl>.

In the Electoral College, Bush received 286 votes to Kerry's <hl> 252 <hl> .


Question: How large of a gap was there between Bush's and Kerry's votes?

Answer: the smallest ever

<hl> Bush's margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. <hl> The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's 252.

Bush's margin of victory in the popular vote was <hl> the smallest ever <hl> for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's 252.


Question: Which candidate, in the 2004 election, had the majority of the popular vote?

Answer: Bush

<hl> Bush 's margin of victory in the popular vote <hl> was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's 252.

<hl> Bush <hl>'s margin of victory in the popular vote was the smallest ever for a reelected incumbent president, but marked the first time since his father's victory 16 years prior that a candidate won a majority of the popular vote. The electoral map closely resembled that of 2000, with only three states changing sides: New Mexico and Iowa voted Republican in 2004 after having voted Democratic in 2000, while New Hampshire voted Democratic in 2004 after previously voting Republican. In the Electoral College, Bush received 286 votes to Kerry's 252.

<hl> Bush <hl> 's margin of victory in the popular vote


Question: What even occured during Bush's presidency that made him become a wartime president?

Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. Bush's approval ratings surged to near 90%. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

Answer: terrorist attacks of September 11, 2001

<hl> Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. <hl> Bush's approval ratings surged to near 90%. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

Just eight months into his presidency, the <hl> terrorist attacks of September 11, 2001 <hl> suddenly transformed Bush into a wartime president. Bush's approval ratings surged to near 90%. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.


Question: How long into Bush's presidency did tragedy occur on American soil?

Answer: eight months

<hl> Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. <hl> Bush's approval ratings surged to near 90%. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

Just <hl> eight months <hl> into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. Bush's approval ratings surged to near 90%. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.


Question: Did Bush become disfavorable during the time of the 9/11 attacks?

Answer: surged to near 90%

Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. <hl> Bush's approval ratings surged to near 90% . <hl> Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. Bush's approval ratings <hl> surged to near 90% <hl>. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

Bush's approval ratings <hl> surged to near 90% <hl> .


Question: How long did it take for the US military to respond by infiltrating Afghanistan?

Answer: Within a month

Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. Bush's approval ratings surged to near 90%. <hl> Within a month , the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. <hl> By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. Bush's approval ratings surged to near 90%. <hl> Within a month <hl>, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By December, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

<hl> Within a month <hl> , the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks.


Question: By which month, were the Taliban no longer controlling Kabul?

Answer: December

Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. Bush's approval ratings surged to near 90%. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. <hl> By December , the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country. <hl>

Just eight months into his presidency, the terrorist attacks of September 11, 2001 suddenly transformed Bush into a wartime president. Bush's approval ratings surged to near 90%. Within a month, the forces of a coalition led by the United States entered Afghanistan, which had been sheltering Osama bin Laden, suspected mastermind of the September 11 attacks. By <hl> December <hl>, the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.

By <hl> December <hl> , the Taliban had been removed as rulers of Kabul, although a long and ongoing reconstruction would follow, severely hampered by ongoing turmoil and violence within the country.